Thirty years after leaving office, Paul Keating is still drawing crowds. Actor and satirist Jonathan Biggins reveals what the former prime minister thinks of his stage portrayal, and why Australians remain fascinated by him.

Paul Keating was never short of a cutting remark. Whether tearing into an opponent in Parliament or arguing for Australia’s place in the world, the former prime minister had a way of making people sit up and listen.

Thirty years after his election defeat, that unmistakable voice is still filling theatres, courtesy of actor and satirist Jonathan Biggins.

And there’s one particularly interested member of the audience.

Keating himself has seen The Gospel According to Paul three times and he’s even invited Biggins into his Sydney office for a private briefing.

“He’s seen the show three times, sent along all his family and invited me to his office in Tusculum for a two-hour briefing about his legacy, his philosophies and his world-class collection of French decorative and fine arts,” Biggins tells Starts at 60.

“It’s mind blowing, especially when you consider he left school at 14 and is a complete auto-didact.”

Keating was initially reluctant about the production, but changed his mind after watching Biggins perform a monologue about leadership during a Wharf Revue.

When he eventually saw the full show, his verdict was unexpectedly gracious: “Thank you for being so generous.”

Why Keating still strikes a chord

Biggins believes Australians remain drawn to Keating because he represents a style of political leadership that many feel is missing today.

“It’s his record of reform and strong political leadership that appeal to people today, even those who weren’t born when he was Prime Minister. His work ethic was extraordinary, and he knew what he was talking about, uninterested in popularity or focus groups.”

Then, of course, there was the entertainment value. Keating could turn a parliamentary exchange into something resembling a theatrical performance, armed with an insult and an unshakeable belief in his own argument.

For Biggins, getting that personality right is less about impersonation than convincing an audience they’re watching the real thing.

“It’s an illusion; you study the voice, the mannerisms and the body language and then gently trick the audience into thinking it’s the real person,” Biggins says.

Years of performing the role have deepened his appreciation of Keating’s abilities, although not necessarily all his policies. Biggins remains critical of privatisation and aspects of the economic thinking Keating championed.

Nor does he imagine the former prime minister would be particularly impressed by Australia’s political climate in 2026. Debates over superannuation, the republic and AUKUS would provide plenty of ammunition.

Behind the famous sharp tongue

While audiences come expecting Keating’s famous put-downs, Biggins says some of the most affecting moments arrive when the bravado disappears.

“He’s a very private person but once or twice we will touch on the personal losses he’s endured throughout his career. It’s a glimpse behind the public mask and it really rounds him out as a human being – you can hear a pin drop.”

Usually, however, laughter wins out. The show’s biggest laugh apparently comes from a line Biggins borrowed from a placard at an anti-Trump rally in New York.

It’s too rude to repeat in print, he says.

Away from politics, Biggins has found another outlet for his humour with his debut novel, Near Death in Venice, a comic crime adventure featuring a hapless tour leader and a band of retirees stealing art across Europe.

The idea came while leading theatre and gallery tours himself.

“As we wandered through the galleries, I was struck by the idea of what good cover a group of active seniors would provide for art theft – no-one would suspect them.”

A group of self-funded retirees embarking on European art heists? It’s an intriguing change of direction for a man who’s spent years getting inside the head of Paul Keating.

And Biggins seems to be enjoying every minute of it.

The Gospel According to Paul plays Arts Centre Melbourne from October 20 to November 1, 2026. Tour dates and tickets. Jonathan Biggins’ novel, Near Death in Venice, is published October 27.